The Journal of Australian Ceramics Vol 52 No 3 November 2013

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Lustre
Lustre by Greg Daly
Ceramics Handbook
Published by A & C Black
Publishers Ltd, January 2012
144 pages, paperback
ISBN 13: 9781408103760
$39.95
Now available online at
www.australianceramics.com
What inspired fairy tales of turning straw into gold! Was this the result of a secretive potter in the
Middle East using straw to create a reduced atmosphere in his kiln to develop gold lustre on his pots
more than 1000 years ago? Today we understand the science of lustres and in his book Greg Daly has
outlined the details of reduced lustres, lustre glazes, resinate lustres and fuming so all interested potters
can 'have a go'. The process is no longer a secret and the materials needed are readily available at
suppliers and online. In Greg's book each type of lustre has its own chapter outlining how each works,
along with firing temperatures, firing conditions and, most importantly, safety issues, which people
should read closely before embarking on lustre projects. This book covers the variables you will be
dealing with, minimising them so you get the feeling of how they work together.
For reduced lustre the variables are the base glaze, the pigment, the firing and length of reduction and
the temperature. This book gives a helpful guide to developing and testing the glaze and recording
information (such as the length of firing, temperature and number of reductions) on the back of test
tiles. Explanations are well illustrated with photographs of test tiles and pots by potters who specialise in
lustres.
The book also covers lustre glazes (in·glaze lustre and flash lustre) and resin lustres which can be
commercially purchased and fired in an OXidising atmosphere in an electric kiln. The reduction comes
from the resin (usually pine resin) in which the metals are mixed. Lustres need to be handled with care
in a well·ventilated area, preferably while wearing a vapour mask. Greg makes his own resinate lustres
using natural eucalyptus oil (rather than the very nasty chemicals the commercial ones contain) with
firing instructions and recipes given.
Fuming is a lustre technique ('borrowed' from glass artists) that uses materials which are corrosive and
poisonous. Chapter 5 covers the dangers and may make you wonder whether it's worth it.
This book shows the results of the author'S extensive testing so you can make your own decisions
about the way to go. After the expertise of lustre nearly being lost over the centuries, this book should
ensure its place in the future history of ceramics.
Review by Kay Alliband
120 THE JOURNAL OF AUSTRALIAN CERAMICS NOVEMBER 2013